EFFECT: To prove conclusively that the Clubs follow the Spades wherever they go, the performer puts the Ace through Four of Spades into various pockets chosen by the spectators. Instantly the Ace, Two, Three and Four of Clubs are shown to have vanished from among the red cards and the twelve red cards are spread on the table to prove it. Rapidly, with hands seen empty, the performer draws the pairs—Aces, Twos, Threes and Fours—from their respective pockets.
26 With your right hand, pick up the twelve red cards lying to your right on the table. Put this in the center of your working area but, with a Bold Steal, cop the top four cards. That is, grasp the four cards in Mario's Bold Steal position, which is essentially Overhand Grip but with the back of the hand turned toward the leftmost eye in your audience (Figure 169, your view, and Figure 170, the audiences view). Picking up just the four cards is facilitated by the crimp you created earlier.
;|b|As you move the red cards say, "As you've seen, the red cards aren't necessary;
llffij they only act as media. I'll show you what I mean. I'll take the Clubs." Reach
4§||ft out and grasp the Club packet with your palm-down left hand. Turn that hand il||; palm up and allow it to rest near the edge of the table. "Pick up the Spades for
■t0Si me." As you say this, gesture with your right hand, which conceals the stolen cards. The spectator will reach for the Spade packet. Under cover of this activity, jffgll bring your right hand toward your left. When your right hand is just about to iJSlS grasp the left-hand cards in Overhand Grip, lap the left-hand cards by pushing
©Shi sharply with your left first finger on the front end. The right hand above will ffgi? provide cover. Leave the right hand's cards in the left hand. Nothing will appear to have changed. (This switch utilizes the Marlo-D'Amico Propelled Lap, gffi; which originally appeared in New jinx, Vol. IV, No. 38, June 1965, page 158.
3fi||\ The switch is also related to an old, standard cold-deck technique.)
27 Take the red-card packet from the table and add the supposed Club packet (actually four red cards) to the top and give the combined packet an Overhand f3§M: Shuffle. "I'll mix the Clubs with the red cards. Or maybe you'd prefer to do it?"
Exchange packets with the spectator, giving him the red cards to mix and then ¿fit? hold between his palms. You take the Spades and reverse their order by performing a legitimate face-up count, bringing the Ace of Spades to the face.
28' Pause to say to the spectators, "I have nine available pockets: two front pants ffjfe pockets, two back pants pockets, two inside jacket pockets, two outside jacket pockets and one breast pocket. I'll place the Ace in one pocket, the Two, Three '<00: and Four into others, but you can chose which card goes into which pocket." fjtiih As you speak, retrieve the lapped cards, adding them face up under the face-up ifclfj Spades. Ask, "Which pocket gets the Ace?"
NOTE: As an alternate handling for general use or when you're standing and can't use your lap, you can replace Steps 26 and 28 with a face-up Multiple Shift, reversing the order of the Club packet before insertion. Steal the Clubs into Gambler's Cop before giving the red packet to the spectator to hold; then take the Spades face up, adding the Clubs below them.
29a If the spectator names a pocket on your left side (other than the inside jacket 'f?;i% pocket or the outside breast pocket), or if he names the inside jacket pocket on the right side, execute a Pull-Down on the bottom card of the packet, the fci;;; Ace of Clubs, and peel the face card and the bottom card into left-hand Deal-^13 i, ing Grip, in perfect alignment. It should appear that only one card, the Ace of Spades, has been peeled off. Place the two cards, as one, into the pocket the .''•;"• spectator has named.
29b If the spectator names a pocket on your right side (excluding the inside jacket ' pocket) or the inside jacket pocket on the left side, the right thumb should contact the top card at the front left corner, while the right second finger contacts the bottom card at the same corner and the right first finger rests on the front left corner. The top and bottom cards should then be drawn forward, in alignment (Figure 171), until they clear the front of the packet. Rest the near left corner of the double card on the packet and keep it in position with the left thumb long enough for the right hand to move to right-hand Dealing Grip (Figure 172). Flash the face of the card to the audience, then place the two cards, as one, into the designated pocket.
Repeat this process to deposit the Two, Three and Four into spectator-selected pockets, using whichever technique, Step 29a or Step 29b, the circumstance requires.
NOTE: If you're using the Multiple Shift-Gambler's Cop handling, you will need to pocket the cards in the opposite order: Four, Three, Two, Ace. This, obviously, doesn't alter the working of the effect.
Have the spectator set the red cards at the middle of the table. Form your hands into a tent over the packet, temporarily screening it from view. Pause a moment, then abruptly pull your hands away and say, "It's amazing but they're gone. I know you don't believe it, but they are." Spread the red cards face up across the table. Ask the spectator, "Where did I put the Ace of Spades?" When reminded of the proper pocket, reach very fairly into it and remove the two cards it contains, backs to the audience. Slowly and dramatically reveal the Ace of Spades and Ace of Clubs. Rapidly announce the pockets that hold the other cards and at a brisk pace remove the two Twos, two Threes and two Fours. Take your bow and applause. You deserve it and so does your audience.
NOTE: As you can see, the effect steadily builds: first, the cards change places as the magician chooses; second, they change places as the spectator
chooses; third, they inexplicably follow each other, both in suit and value; and fourth, they vanish from before their eyes and jump into four different pockets. And all this with absolute ease and no funny business or gaffs. Pretty good, eh?
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